El siguiente texto aborda la poesía de Carlos Fajardo Fajardo, cuya obra sólida, rigurosa y de estupenda factura, lo sitúa entre uno de los poetas más representativos de la actual poesía colombiana. El texto muestra las constantes poéticas de Fajardo, sus propuestas estéticas e influencias, rastreando la sugerente lucidez y la exquisita sensibilidad que habitan en sus poemas.

Esta investigación da cuenta de cómo ha sido expresada, interpretada y fundada poéticamente la ciudad colombiana durante el siglo XX en las obras de los poetas colombianos Luis Vidales (Suenan Timbres), Rogelio Echavarría (El Transeúnte) y Juan Manuel Roca (Luna de ciegos y Los ladrones nocturnos). Indaga cómo estos tres poetas colombianos han fundado ciudades como textos escriturales y levantado cartografías simbólicas citadinas; realiza una interpretación de los universos de sus poéticas, de las constelaciones simbólicas que asume el poema como (...) universo del lenguaje, el cual construye topologías imaginarias sobre la ciudad, revelando arquetipos fundamentales, presentes en la poesía urbana colombiana. (shrink)

Suenan timbres, by the Colombian poet Luis Vidales, is an urbanely rural work. The fact that flowers, spiders, cats and landscapes are found in these short poems-vignettes –all of which are a reflection of a city in the process of modernization–; confirms how interested was the author in the idea that his poetic project could erode the barrier separating the cultural and natural spheres. Bearing this in mind, the article attempts to show that the intersubjective dialogue between the two (...) spheres is not peaceful, balanced or horizontal. On the contrary, the article, through a philosophical analysis based on the ideas of ecocriticism, seeks to reveal that underlying this dialogue, there is the desire of modern men to dominate, control and subdue nature to the laws and rule of culture. (shrink)

In pre-Columbian times, the Zenu Indians established drainage systems in the wetlands of the Colombian Caribbean that enabled them to exploit this rich ecosystem in a sustained manner. Modern inhabitants of the region are, however, exposed to a regimen of periodic flooding that limits their productive activities. In addition, they are surrounded by large cattle ranches that occupy almost all the land and are responsible for the disappearance of forests that sustain the wild fauna. These peasants employ a classification (...) system for the fauna that favors the criterion of habitat over that of morphology to distinguish categories of animals. Secondary forest animals inspire carnival dances, folk tales, poetry, and songs, while insects and other invertebrates are barely represented in the oral tradition. Fishing provides the principal source of protein for many families, but there are no mechanisms to control the use of large nets that exhaust the resource. The capture of reptiles such as iguanas, turtles, and crocodilians is intensive and is not based on studies that determine the state of the populations and the impact of hunting activities. The author draws attention to the need to take into account local representations of animals in programs aimed at conserving the wetlands and their fauna. She discusses the popular nomenclature, knowledge, attitudes, and beliefs regarding the fauna of a wetland region of the Colombian Caribbean to assist in the design of programs for the sustainable exploitation of the resources of this ecosystem, vital to the survival of local fishermen and peasants. (shrink)

In the second half of the 20th century, Latin American poetry has had to deal with representing the phenomenon of forced disappearance in its various poetic productions. Some of those have incubated in the Central American civil wars, the dictatorial regimes of the Southern Cone and even in countries with supposed democratic stability such as Mexico and Colombia. Memorial de Ayotzinapa, by the Mexican poet Mario Bojórquez, and Carta de las mujeres de este país, by the Colombian poet (...) and activist Fredy Yezzed, experiment with the discursive forms of the long poem and the letter poem, respectively, to construct collective memories around a phenomenon that continues to take lives to this day. Bojórquez's text is concerned with constructing a testimony, apparently in situ, of the disappearance of the forty-three Mexican teacher trainees; Yezzed's work, for its part, refrains from referring to a specific event or place in order to provide a more complete testimony of the Colombian armed conflict, nearly seventy years old. The article analyzes the forms of the text, the subjects and their spaces of enunciation, as well as the memory strategies that are seen in both works. Thus, the testimonial status of poetry is confirmed, sometimes overshadowed by genres such as the novel and the short story. (shrink)

Hastings Center Report, Volume 52, Issue S1, Page S18-S21, March‐April 2022.

Fabi and Goldberg raised important considerations regarding both research and funding priorities in the field of bioethics and, in particular, the field’s misalignment with social justice. W...

In 2009 the Roundtable on Sustainable Palm Oil established a conflict resolution mechanism to help rural communities address their grievances against palm oil companies that are RSPO members. This article presents the broadest ever comprehensive assessment of the use and effectiveness of the RSPO conflict resolution mechanism, providing both overviews and in-depth analysis. Our central question is: to what extent does the RSPO conflict resolution mechanism offer an accessible, fair and effective tool for communities in Indonesia to resolve conflicts with (...) companies? Our aim is not only to provide a ‘reality check’ of this mechanism but also to contribute to the wider debate on how communities can seek access to justice when engaged in intractable conflicts with palm oil companies. For data collection, we took three steps. First, we used our own database of 150 conflicts between communities and companies in Indonesia. We identified 64 conflicts that involved RSPO member companies, of which 17 prompted communities to convey their grievances to the RSPO’s conflict resolution mechanism. Second, we used the database of the RSPO, which handled 85 complaints against companies in Indonesia in the period 2009–2020. Third, we conducted fieldwork, in total, about 6 months of fieldwork and extensive interviews on three conflicts involving RSPO companies to identify mechanisms leading to both failed and successful instances of conflict resolution. For our assessment, we used three criteria to assess the conflict resolution mechanism of the RSPO: accessibility, procedural justice, and the outcomes of the process. We conclude that—on all counts—the conflict resolution mechanism is biased in favor of companies. The result of these biases is that the actual capacity of the RSPO’s mechanism to provide a meaningful remedy for rural communities’ grievances remains very limited. This unequal access to justice sustains conflicts between companies and communities over land. (shrink)

The assent of man, Michael Berube -- Getting rid of the appearance-reality distinction -- Universalist grandeur and analytic philosophy -- Romanticism, narrative philosophy, and human finitude.

This essay examines the poetry of Wislawa Szymborska as sharing key similarities with modern feminist practice in science. Szymborska’s poetry invites such an analysis because of its interest in anthropology and the natural sciences, and because of its preoccupation with the creation, limitations, and effects of knowledge. I argue that Szymborska’s privileging of uncertainty, of the personal, the particular, and the ‘insignificant’, as well as her process- and question-oriented method of creating meaning aligns her with feminist science. Szymborska’s (...) poetry explores such key feminist ideals as contextualization of all knowledge, relationship of equality and unity of scientist and subject (expert and non-expert), coexistence of contradictions, and an emphasis on process and questioning rather than on knowledge and findings. Wislawa Szymborska practises in poetry the very same decentring of the patriarchal standards of expertise, objectivity, and absolute truth that is taking place in feminist science. (shrink)

In this article, I use Lorena Cabnal’s notion of territorio cuerpo-tierra to analyse seventeen in-depth interviews with women leaders of rural social movements and other organisations in Colombia. In the interviews, social leaders condemn violence that is epistemic, systemic, militarised and that permeates all ambits of life. They denounce how the coloniality of power operates, while at the same time they propose alternatives for a better life from their own cosmovisions by enacting food sovereignty and constructing feminisms from ‘below’. I (...) demonstrate how these social leaders’ actions are entangled in decolonial feminist struggles, which undermine the way in which women in the Global South have been constructed as ‘objects’ or ‘in need of saving’. These women are not ‘victims who need saving’, but politically active subjects who enact change locally and nationally through their ‘territories bodies-lands’. Not only do their narratives highlight the intimate relationship of the body with the land, but I argue that we must follow their lead in order to dismantle the coloniality of power. (shrink)

In contemporary American poetry, poets practice open form. Charles Olson, Robert Duncan, Paul Blackburn, Robert Creeley, Jack Spicer, Denise Levertov, Gary Snyder, Allen Ginsberg, Edward Dorn, Louis Zukofsky, John Ashbery, and Frank O'Hara belong to this school of open form. Their open form advocates creative spontaneity, fragmentation, and juxtaposition. It repudiates thematic and formal closure and requires of its readers a willingness to value a poem as process and event. Recent studies of open form inform us that in both (...) theory and practice they descended from Pound and Williams. However, my intention is to establish the foreground of open form in the poetics and poetry of Yeats, Pound, and Eliot. My major objective is to establish Yeats as the precursor of the poetics of open form, and then to apply his poetics to his poetry, and to those of Pound and Eliot. ;Part I, with the aid of the theories of language by Paul de Man, Jacques Derrida, Jacques Lacan, and Martin Heidegger, examines the linguistic turn revealed in Yeats's A Vision which manifests the poetics of open form through the rhetoric of prophecy. Chapter One defines the concept of the Unity of Being. Chapter Two illustrates how Yeats disciplines himself in his poetic quest for the Unity of Being. Chapter Three defines prophecy and the rhetoric of prophecy. Exergue, an inter-chapter, surveys and assesses contemporary theories of language in an attempt to relate metaphor to rhetoric. Chapter Four closely examines A Vision in the light of the rhetoric of prophecy and poetics of open form. ;Part II demonstrates how the poetry of Yeats, Pound and Eliot provides the praxis of Yeats's poetics. Conclusion discusses the poetics of Duncan, Olson, and Levertov and show how they reflect Yeats's, thereby demonstrating the continuity between the poetry of modernism and postmodernism. (shrink)

Beş sanattan şiir felsefe tarihi boyunca kendini sürekli gündemde tutmayı başarmıştır. Platon şiire daha çok politik/dini kaygı çerçevesinde yaklaşarak onun dönüştürücü gücünü ideal devleti bağlamında kontrol altına almaya çalışırken Aristoteles şiir sanatına büyük önem vermiş ve bu bağlamda Poetika adlı müstakil eserini kaleme almıştır. Daha sonraki süreçte bu eser öğrencileri tarafından Organon (alet) isimli mantık külliyatının içine dâhil edilmiştir. Platon’un muhteva kritiği diyebileceğimiz yaklaşımından farklı olarak şiiri daha çok form bağlamında ele alan Aristoteles’in söz konusu politik kaygıyı gütmediği anlaşılmaktadır. Ancak (...) şiir, tüm bu geleneklerden beslenen Fârâbî’ye kadar mantık ile doğrudan ilgisi kurulan bir sanat olarak ortaya çıkmaz. Fârâbî’nin özgünlüğü şiiri edebi bir tür olmanın yanında mantıksal ilgisi bağlamında ele almış olmasıdır. Bu makalede şiir ile mantık ilişkisinin Fârâbî’de biri şiirin felsefe öğreniminde ve kıyas türleri bağlamında işlevselliğine diğeri ise mantığın şiirin beş sanat içerisinde tanınmasını ve ayrıştırılmasını sağlayan yönüne işaret eden iki veçheli bir şekilde tasarlandığı savunulacaktır. (shrink)

Odour-sound correspondences provide some of the most fascinating and intriguing examples of crossmodal associations, in part, because it is unclear from where exactly they originate. Although frequently used as similes, or figures of speech, in both literature and poetry, such smell-sound correspondences have recently started to attract the attention of experimental researchers too. To date, the findings clearly demonstrate that the majority of non-synaesthetic individuals associate orthonasally-presented odours with various different sound properties, e.g., pitch, instrument type, and timbre, in (...) a non-random manner. What is more, these auditory-olfactory associations exhibit a number of features that are common to other crossmodal associations, such as their consistency over time, and their bidirectionality. However, the psychological mechanism underpinning these associations in the general population remain unclear, with a number of distinct hypotheses having been put forward over the years. In this chapter, we consider auditory-olfactory associations in art and science, focusing on poetry, music composition, and performance. First, we provide examples of the use of auditory-olfactory synaesthetic metaphors in poetry, from William Shakespeare through to Romanticism, illustrating how crossmodal associations have appeared in literature for centuries. Then, we move on to focus on music composition and performance, describing a number of examples where auditory stimuli have been purposely matched with crossmodally corresponding olfactory and/or visual stimuli. Considering the scientific study of smell-sound correspondences, we review the key psychophysical studies demonstrating that, beyond the artistic context, robust and non-random crossmodal associations are also triggered in the majority of the general population. We discuss a number of hypotheses that have been put forward over the years to account for such associations, focusing on the idea that certain correspondences between olfactory and auditory stimuli are mediated by the emotional character of the component stimuli. (shrink)

You may challenge this. You may say that after all scientists need gadgets. They need cyclotrons and space probes, telescopes and microscopes. They need the mechanical skills to make them work. The other day I heard a talk by a novelist who remarked that maybe you don't need to have a poignant love affair to be a writer, but it helps. I take this to mean that writers as well as scientists need data, which implies the equipment and skills for (...) its perception; but this need imply no more than the very basic human endowment. I happen to be a geologist and get a good deal of my data wandering "... lonely as a cloud o'er vales and hills," which also appears to have some poetic value. Still, there seems to be a difference. Are poignant love affairs, which inform the poetic imagination, merely disturbing to scientists? (shrink)

Oakeshott’s theory of poetry was a pure theory. But it was so pure a theory it emptied out most of what we would normally mean by poetry, it ignored the history of poetry in extracting a meaning out of it, and it left to one side most of the questions about poetry which are of interest to poets, critics or indeed anyone. This chapter places Oakeshott’s theory of poetry in the context of theories of (...) class='Hi'>poetry from Aristotle through Johnson, Wordsworth and Shelley through to figures as varied as Wittgenstein, Leavis, Eliot and Auden in order to suggest that Oakeshott theory was, as a theory of poetry, a provocation, and, as a theory of something undoubtedly worth thinking about, not a theory of poetry at all. (shrink)

The place of poetry in modern democracy is no place, according to conventional wisdom. The poet, we hear, is a casualty of mass entertainment and prosaic public culture, banished to the artistic sidelines to compose variations on insipid themes for a dwindling audience. Robert Pinsky, however, argues that this gloomy diagnosis is as wrongheaded as it is familiar. Pinsky, whose remarkable career as a poet itself undermines the view, writes that to portray poetry and democracy as enemies is (...) to radically misconstrue both. The voice of poetry, he shows, resonates with profound themes at the very heart of democratic culture.There is no one in America better to write on this topic. One of the country's most accomplished poets, Robert Pinsky served an unprecedented two terms as America's Poet Laureate and led the immensely popular multimedia Favorite Poem Project, which invited Americans to submit and read aloud their favorite poems. Pinsky draws on his experiences and on characteristically sharp and elegant observations of individual poems to argue that expecting poetry to compete with show business is to mistake its greatest democratic strength--its intimate, human scale--as a weakness.As an expression of individual voice, a poem implicitly allies itself with ideas about individual dignity that are democracy's bedrock, far more than is mass participation. Yet poems also summon up communal life.. Even the most inward-looking work imagines a reader. And in their rhythms and cadences poems carry in their very bones the illusion and dynamic of call and response. Poetry, Pinsky writes, cannot help but mediate between the inner consciousness of the individual reader and the outer world of other people. As part of the entertainment industry, he concludes, poetry will always be small and overlooked. As an art--and one that is inescapably democratic--it is massive and fundamental. (shrink)

In 1853, two decades after Goethe’s death, Hermann von Helmholtz, who had just become professor of anatomy at Königsberg, delivered an evaluation of the poet=s contributions to science.1 The young Helmholtz lamented Goethe=s stubborn rejection of Newton =s prism experiments. Goethe=s theory of light and color simply broke on the rocks of his poetic genius. The tragedy, though, was not repeated in biological science. In Helmholtz=s estimation, Goethe had advanced in this area two singular and “uncommonly fruitful” ideas.2 The poet (...) recognized, first, that the anatomical structures of various kinds of animals revealed a unity type underlying the superficial differences arising from variability of food, habit, and locality. His second lasting achievement was the related theory of the metamorphosis of organisms: the thesis that the various articulations within an organism developed out of a more basic kind of structure—that, for instance, the different parts of plants were metamorphosed leaves or that the various bones of the animal skull were but transformed vertebrae. These two general morphological conceptions, according to Helmholtz, grounded the biology flourishing at 1 mid-century. Goethe came to these ideas, Helmholtz shrewdly maintained, as the result of a poetically intuitive conception.3 He described, for instance, Goethe=s immediate recognition, while playfully tossing around a sheep=s skull on the Lido in Venice, that the fused bones of the battered cranium consisted of transmuted vertebrae. This experience resulted in the poet=s vertebral theory of the skull, which became a standard conception in later morphology.4 Poetic intuition thus liberated an idea initially embedded in matter and made it available to the analytic understanding of the scientist. Forty years later, in 1892, at the meeting of the Goethe Society in Weimar, Helmholtz returned to reexamine the poet=s scientific accomplishments, and, it would seem, implicitly his own; for by the end of his career, Helmholtz himself had achieved a position in German culture only a few steps below that of Goethe.5 His evaluation of Goethe=s achievements in physical science was now more complex than his earlier assessment had been. (shrink)

Examining both why and how Emerson evades the ancient quarrel between literature and philosophy, this book entirely rethinks the nature of Emerson's radical individualism and its relation to the possibility of an ethics and a politics. The author argues that the quarrel between literature and philosophy never took place in America, and that instead traditional philosophical work staged itself here as a form of literary praxis and cultural therapeutics, epitomized in the work of Emerson. A revisionary study of some of (...) Emerson's central essays, Less Legible Meanings also invites the reader to reconsider the nature of Emerson's influence on contemporary American culture and to discover new ways in which we might continue to understand his work. Interdisciplinary in scope, the book makes equal use of the history of philosophy, psychoanalytic theory, and cultural history. (shrink)

On Dwelling explores the meaning of dwelling in places where we humans live and work—from our homes to the very planet we co-inhabit. Crossing boundaries and disciplines, it lays the groundwork for addressing place-based issues like migration, ethnic division, resource use, and human-caused peril to the earth itself.